To replace Brown's stolen portrait, RISD student will copy a livelier version painted in 1902 by feminist Cecilia Beaux
Sarah E. Doyle will once again bring recognition to the contributions of a woman - albeit posthumously.
Three months after a portrait of Doyle was stolen from campus, Brown has hired a local artist to paint a copy of another portrait in order to maintain a visual reminder of the eminent educator who helped open the door to women at Brown.
However, instead of copying photographs of the University's missing portrait by a little-known male artist, a copy will be made of a portrait of Doyle that is considered to be better artwork. This portrait, owned by the Rhode Island School of Design, was painted by artist Cecilia Beaux, a feminist who was criticized for her career during her lifetime.
"This gives us a chance to get a better picture, but it is also more satisfying to know it was painted by Cecilia Beaux, whose interests were consistent with Sarah Doyle's," said University Curator Robert P. Emlen. "Cecilia Beaux made the fundamental decision to work and not marry, and that put her outside the mainstream public acceptance."
Both women devoted their lives to their work.
Doyle (1830-1922) was a leading educator in Providence and principal of the Girl's Department at Providence High School, whose successful fund raising led to the construction of Pembroke Hall, dedicated almost a century ago on Nov. 22, 1897, and assured the establishment of the Women's College at Brown.
Beaux (1855-1942) had renounced a traditional family life to become an artist at a time when such a role was frowned upon in polite American society. Yet her work gained a following on its own merits, and is compared with that of American portraitist John Singer Sargent.
"She had to work hard, sacrifice much and make tough choices to establish her place," according to American Arts Quarterly. "To the end, she objected to being termed a `woman artist,' saying she looked forward to the day when the term `Woman in Art' will be as strange sounding a topic as `Man in Art' would be now."
A group of Providence teachers commissioned Beaux to paint the portrait of Doyle in 1902; the portrait owned by Brown was painted eight years later.
"I think that women felt a special affinity for [Beaux] because she was an example of a professionally-accomplished woman who had distinguished herself," said Emlen. "She had a reputation of being able to capture the quality of a strong woman."
Doyle chose the Rhode Island School of Design to house the portrait by Beaux so that it could be studied by those who were learning art. Appropriately, it will be copied by RISD illustration student Bryan Konietzko, 21, who was hired for an undisclosed amount.
The entire project will take about two months, and the finished work will likely take the spot occupied by the former Doyle portrait by the end of the year, said Emlen.
Brown's portrait of Doyle was discovered missing from Sayles Hall on Aug. 20, the canvas crudely sliced out of its frame, and it has not yet been recovered.
Painted by Kleber Hall, that portrait of Doyle had little monetary value but was treasured by the University for its historical worth.
Background about that portrait is a mystery to school officials. Emlen does not have any records on the artist other than the signature and date of 1910 at the bottom of the work. However, in comparing the two portraits, Hall was apparently not the accomplished painter that Beaux was, Emlen said.
Those familiar with the missing portrait of Doyle will notice some differences in its replacement.
Comparing the two portraits, Doyle appears strong and determined in the Beaux painting, with an animated look and sparkle to her eyes. It contrasts with Brown's portrait in which Doyle looked older and tired, as if some of the vitality has gone from her face, said Emlen.
In both, Doyle was seated in a nearly identical pose with her glasses held in her right hand. Those similarities indicate that the Brown portrait may have been inspired by the earlier portrait by Beaux, said Emlen.
The Beaux portrait is well-known to Brown. Even with its own painting, the University had borrowed Beaux's work from the neighboring institution twice over the past century, said Emlen.
The newest project is another "visible example of cooperation between these two institutions," said Emlen.